Showing 1 - 20 results of 57 for search 'The Song of Lunch~', query time: 3.36s Refine Results
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    Delta opioid receptors affect acoustic features of song during vocal learning in zebra finches by Utkarsha A. Singh, Soumya Iyengar

    Published 2025-01-01
    “…We wanted to study if they were also involved in naturally-occurring reinforcement learning behaviors such as vocal learning, using the zebra finch model system. Zebra finches learn to vocalize early in development and song learning in males is affected by factors such as the social environment and internal reward, both of which are modulated by endogenous opioids. …”
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    Effect of Vocal Nerve Section on Song and ZENK Protein Expression in Area X in Adult Male Zebra Finches by Congshu Liao, Dongfeng Li

    Published 2012-01-01
    “…To reveal the relationship between the ZENK expression in Area X and song crystallization, immunohistochemistry was used to detect ZENK protein expression in Area X after the unilateral vocal nerve (tracheosyringeal nerve) section in adult male zebra finches. …”
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    Attraction points: A new sampling design method to quantify common finches’ population by Lorenzo Marazuela Pinela, Ángel Julián Martín Fernández, Pablo-Luis López-Espí

    Published 2025-02-01
    “…The model leverages the ethological characteristics of this bird family, which are non-territorial and seeks the company of conspecifics, which they attract through song. Consequently, its applicability is limited to other bird taxa with similar behavioural traits.The “Attraction Points Method” (APM), which uses the songs of live congeners, as described here, has been employed and evaluated in several projects for tracking finch populations in Spain, particularly in the Community of Madrid, where a continuous study of their populations has been conducted since 2018. …”
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    Gender, Schaffensprozess und musikalische Analyse. Clara Schumanns Drei gemischte Chöre (1848) by Thomas Wozonig

    Published 2020-06-01
    “…Clara Schumann’s three a cappella part songs from 1848 (Drei gemischte Chöre) like few other of her compositions allow for substantial insight into the artistic dialogue of the Schumann couple: these songs were composed in the context of common activities in the Dresden Verein für Chorgesang and jointly revised after their first performance. …”
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